As I can remember me; at the beginning of WWW at the end of 80’s in Germany, there was an exciting on the way. For me, unfortunately, there was not much opportune to be busy with this newcomer because, I had to work to get money for all these costs but Al, my brother was fully employed with this phenomenon and I had to say it; it was my goal.
It was the time of running slowly and take your time! The time of running modem in the taking of 53 KB. and try to get the music Napster… I will never forget how Al complained; It is damn slow!!
Anyhow, in those days, He had shown me once a shit of paper about the; Philosophical view of the religious way of thinking. this paper I have lost or couldn’t find, but I could gather together something similar to share here, might the force be with you, enjoy:
according to various religions and spiritual philosophies
Hi, dear adorable friends. Some days ago as I had got a little time to have a look at my inbox (they were growing bigger and bigger), I found an old post which I can’t remember how I came to or from where I have got this but that cause me thinking of how important is the communication between so many people with so many different languages on the Earth.
Of course, my intention goes more on personally talk to talk and not through the world-wide-web. In the world there are 6500 different languages were spoken and in my opinion, it is one of the reasons why there is hard to get nearer to each other.
I had a strong wish (as I still have) to know many languages as possible to be able to communicate with all the people around the world, it may be because my world was not enough for me those days in Iran and I wanted more. I was surely not alone as I remember to recall the idea of the Esperanto, the idea of the common world-language. And as we, Al and me, were eagerly watching the Star Trek, Next Generation, this subject was truly and reasonably coming as harassment when one must be understood in the universe! There were enough reasons to get this problem but they worked deeper in this, the maybe loveliest and most logical way to communicate with others; Telepathy.
Although, as they, in this great TV serial, tried many versions in the matter of telepathy, there was a kick, a secret which one didn’t want to give it free; It could make troubles!
Anyway, here is the text which I have found “unknowingly” from where, and it might sound like in the way of The Whitechapel Whelk though, I think that he doesn’t mind!
I actually like this explanation here because, as I have been confronted with many foreign languages through my life I found English is the easiest, most flexible and beautiful one for using as communication, there is no doubt that there are so many languages in the world which have their beautifully sounded voices. Now let read what it wants to tell us. 😉😊💖🙏💖
“`This is Absolutely Brilliant*
The European Commission has just announced an agreement whereby English will be the official language of the European Union rather than German, which was the other possibility. As part of the negotiations, the British Government conceded that English spelling had some room for improvement and has accepted a 5- year phase-in plan that would become known as “Euro-English”. In the first year, “s” will replace the soft “c”. Sertainly, this will make the sivil servants jump with joy. The hard “c” will be dropped in favour of “k”. This should klear up konfusion, and keyboards kan have one less letter. There will be growing publik enthusiasm in the sekond year when the troublesome “ph” will be replaced with “f”. This will make words like fotograf 20% shorter. In the 3rd year, publik akseptanse of the new spelling kan be expekted to reach the stage where more komplikated changes are possible. Governments will enkourage the removal of double letters which have always ben a deterent to akurate speling. Also, al wil agre that the horibl mes of the silent “e” in the languag is disgrasful and it should go away. By the 4th yer people wil be reseptiv to steps such as replasing “th” with “z” and “w” with “v”. During ze fifz yer, ze unesesary “o” kan be dropd from vords kontaining “ou” and after ziz fifz yer, ve vil hav a reil sensi bl riten styl. Zer vil be no mor trubl or difikultis and evrivun vil find it ezi TU understand ech oza. Ze drem of a united urop vil finali kum tru. Und efter ze fifz yer, ve vil al be speking German like zey vunted in ze forst plas. If zis mad you smil, pleas pas on to oza pepl. And Congratulations you have learnt German within minutes…“`
The story of “Strawberry Fields Forever” is more or less the story in miniature of the Beatles’ reinvention after they swore off touring in 1966 and disappeared into the studio to make their most innovative albums. It was not, as some Beatles fans might remember, an easy transition right away. Some of their fans, it turned out, were fickle, easily swayed by gossip as the latest TV trends. “While unsubstantiated break-up rumors swirled, some music fans became disenchanted with the group,” writes Ultimate Classic Rock. “You need only watch a 1967 clip from American Bandstand to see how many teenagers in the audience thought the Beatles were has-beens.”
Eager to get something out and fight the whims of fashion, Parlophone and Capitol both released John Lennon’s latest, “Strawberry Fields Forever,” with Paul McCartney’s “Penny Lane” as the B-side, in 1967. Since the band no longer toured, they were “directed to make film clips to accompany each song and promote the single.”
Here, they debuted their new psychedelic look, and in the singles they demonstrated the new direction their music would go. Thematically, both songs are nostalgic trips through childhood, with Lennon taking a mystical, psych-rock approach and McCartney diving headlong into his sentimental music hall ambitions.
“Strawberry Fields Forever” also firmly established the band as studio wizards, thanks to the wizardry, primarily, of George Martin. In the video at the top from You Can’t Unhear This, we learn just what a marvel—as a technical achievement—the band’s new single was at the time, containing “the craziest edit in Beatles history.” The song itself went through a very lengthy gestation period, as Colin Fleming details in Rolling Stone, from sketchy, ghostly early acoustic demoes called “It’s Not Too Bad” (below) to the wild cacophony of crashing rhythms and looping melodies it would become.
Recording take after take, the band spent 55 hours in the studio working on “Strawberry Fields Forever.” Nothing seemed to satisfy Lennon, though he was leaning toward a darker, heavier take, Fleming notes:
This was a version approaching proto-metal. Lennon couldn’t decide if he wanted to go the ethereal route, or the stomping one, and famously told George Martin to combine the two versions. This was less than practical.
“Well, there are two things against it,” Martin informed Lennon. “One is that they’re in different keys. The other is that they’re in different tempos.”
But for a man who had started his most personal, honest musical journey, within the parameters of a single song, back in Spain, this was merely part of the process.
“You can fix it, George,” Lennon concluded, and that was that, with Martin now tasked with finding a solution to a problem that seemingly violated the laws of musical physics.
Martin’s solution involved slowing one version down and speeding up the other until they were close enough in pitch that “only a musicologist, really, would know that there was that much of a difference,” Fleming writes. Speeding up and slowing down tracks was common practice in the studio, and is today, but given the incredible number of instruments and amount of overdubbing that went into making “Strawberry Fields,” the endeavor defied the logic of what was technologically possible at the time.
While the time spent on the song might seem extravagant, we should consider that these days bands can pluck the sounds they want, whatever they are, from pull-down menus, and splice anything together in a matter of minutes. In the mid-60s, Brian Jones, Brian Wilson, Jimi Hendrix, the Beatles and other studio pioneers dreamed up sounds no one had heard before, and brought together instrumentation that had never shared space in a mix. Producers and engineers like Martin had to invent the techniques to make those new sounds come together on tape. Learning the ins-and-outs of how Martin did it can give even the most die-hard Beatles fans renewed appreciation for songs as widely beloved as “Strawberry Fields Forever.”
I have never thought that as a retired man being so busy as I haven’t been before. That is and means being a grandpa!
Oh yes; excitement is the order of these days, the first; queen Mila is on our board; with grandma & pa because the second one; the king (or the Lord on the side of the queen, the name has not been chosen yet) is on the way to step (or shout out) on this earth.
so then it’s announced many sleepless nights and heart-beats, till all gonna be well. we can just hope.
PS: Since last Saturday, I am writing (trying 😛) to finish these some words but I have a feeling that I’m getting old(er)! today I (thought) I have an appointment with my gum surgery to finish my implant but it came out that I have messed up the day and the appointment was yesterday 😮😩
I was shocked when I found it out and now try not to become depressed.
Anyway, I try to give my best. Have a good rest of the week and stay safe dear friends🙏💖✌
The “Nefer” (Good, Beauty, Pleasant, Well) is a prefix which had been used several times for the Egyptian queens, therefore, we must not mix them together. There are many beautiful Queens in ancient Egypt; “Queen Nefertari—not to be confused with Nefertiti, the powerful queen who ruled alongside her husband, King Akhenaten, in the mid-14th century B.C.—was the first and favoured wife of Ramses II, the warrior pharaoh who reigned from 1290 to 1224 B.C., during the early 19th dynasty.” https://www.history.com/news/archaeologists-identify-mummified-legs-as-queen-nefertaris
Here is another great article by Marie Grillot about finding a fetching artefact, among the others, the Pillar-djed amulet. 🙏💖🙏
It is to the Archaeological Mission of the Museum of Turin, directed by Ernesto Schiaparelli and Francesco Ballerini, that we owe, in 1904, the discovery of the tomb of Nefertari, great wife of the pharaoh Ramses II; dazzlingly beautiful, it was adorned with eloquent titles. But the door which was to protect the abode of eternity – referenced QV / VdR 66 – from that which at Court was called “The most beautiful of all” had been opened, a sign of pillage from antiquity.
“Cuttings had slipped, entered the first room and this filling almost reached the ceiling,” notes Schiaparelli. The ground of the tomb is entirely covered with solidified mud… Of the fabulous and royal treasure which it must have sheltered, there remain only “rare objects, in the middle of torn shrouds, everything showed to what extent the rape and the rampage had been systematic “. The looters left only “scarabs, fragments of the cover of the granite sarcophagus, and fragments of a coffin cover in gilded wood. Thirty “chaouabtis “(or ” shaouabtis “, ” chabtis “, “shabtis)., many shards of pottery … One of the niches kept for the magic bricks in the funerary chamber contained the partitioned wooden pillar-djed with an inlay of glass paste which had, one day, decorated the brick. It is inscribed in the name of Queen Nefertari… Finally to finish, humble but moving object abandoned by the looters, a pair of rope sandals… “
In “Nefertari, For Whom The Sun Rises”, Valeria Ornano describes the queen’s djed amulet as follows: “The front of the wooden object is 13 centimetres long and is covered with gold leaf with inlays in the blue glassy paste, while the back is painted yellow with red decorations and bears a touching engraving: “Osiris, the great royal wife, his beloved, just like Re”. It is quite possible that the other three niches contained similar objects, possibly related to Isis as she is depicted on the walls of the same tomb. These amulets were used to provide magical protection for Nefertari during his regeneration. “
The pillar-djed, symbol of stability is the Osirian amulet par excellence. In “Ancient Egypt and its gods”, Jean-Pierre Corteggiani devotes a long development to him, here is a short extract: “this pillar with the foot as flared as the head, surmounted above multiple ligatures, by four elements dishes which seem to fit one inside the other, was assimilated to the backbone of Osiris: this is what the ‘Formula of the pillar-djed in gold’ indicates… of chapter 155 of the Book of the Dead where it is specified that any deceased buried with this amulet suspended from the neck by sycamore fibre is guaranteed to be ‘an eminent blessed in the empire of the dead’ and this is what makes it a symbol conferring stability and duration, notions expressed in Egyptian by the corresponding hieroglyphic sign. “
The Guide to the Museo Egizio in Turin, where the Nefertari pillar-djed is exhibited under the reference S. 5163, specifies that this is: “the only survivor of the four amulets linked to what we call the ‘magic bricks’, ritually arranged at the four corners of the golden room to protect the deceased “.
In BIFAO 112, Elka Koleva-Ivanov studies this funeral ritual of “magic bricks” or “sacred bricks” linked to Osiris: “According to chapter 137A of the Book of the Dead, on the western brick must be placed a pillar-djed which is an Osirian object and on the eastern brick, the figurine of Anubis which is closely associated with the protection of the dead god. Similarly, according to this text, the magic brick must be made in sjn wȝḏ, which designates the raw clay, but also green clay, the Osirian colour par excellence “; the other two bricks being: “to the south – the one with the torch and to the north – the brick carrying the mummy figurine”.
It is clear that the bricks did not succeed in preserving the queen … In his “Nefertari the Lover of Mut”, Christian Leblanc returns to the desecration of the tomb: “The burial unsealed by looters was not burnt down, but the queen’s funeral furniture was largely taken away. The open pink granite sarcophagus allowed thieves to get their hands on the most precious objects: gold and gilded coffins, jewellery and amulets, which were easily transformable or exchangeable on the market where large traffic arises. The chests, baskets, chairs and beds which had to appear among the pieces of equipment put at the disposal of the sovereign in her eternal home, were undoubtedly dismantled then recovered, along with the contents of the jars and containers. “
As for Nefertari whose representations, whether painted or of stone, delight our eyes, it is infinitely sad to report that, of his mummy, only the two knees have been found. After the plundering at the end of the New Kingdom, was it restored and sheltered in a royal hiding place, similar to the DB 320? If that were the case, hope would then be allowed to see the beautiful sovereign one day …
Nefertari, ‘the beloved de Mut’ Christian Leblanc, Editions du Rocher 1999The queens of the Nile. Library Rarities, Christian Leblanc, Paris, 2009Nefertari, For Whom The Sun Rises, Valeria OrnanoOsiris and sacred bricks BIFAO 112 (2012), p. 215-224 Elka Koleva-Ivanovhttps://www.ifao.egnet.net/bifao/112/15/
12 Egyptian queens who changed history, Pierre TalletThe secret discoveries, Christiane Desroches-Noblecourt Editions Telemachus, 2006The great nubiade or the journey of a Egyptologist Christiane Desroches-Noblecourt, Stock 1992
Nefertari, also known as Nefertari Meritmut, was an Egyptian queen and the first of the Great Royal Wives of Ramesses the Great. Nefertari means ‘beautiful companion’ and Meritmut means ‘Beloved of [the goddess] Mut’. She is one of the best known Egyptian queens, next to Cleopatra, Nefertiti, and Hatshepsut. Wikipediahttps://g.co/kgs/SaKbEz
An Enlargement of a Photograph… or an Enlargement of Mind.
Hi dear friends. I hope you’re all good and well and tuned. Oops! It looks like I’m writing a letter to you 😁 Of course, I have no intention of writing a letter, I’m just a little confused, It seems I am doing mostly something else as I have thought to want to do!!
It might be also caused by a problem, which I have got since a week ago about my limited action on the WP.
You know; I must confess that I am as a guest-writer here, it means that I use this site in no charge. It is, of course, a very kind act by the WP to let me and the same as me, to be allowed to work and write their thoughts without paying and it is as it expected, limited version.
Therefore, and at the same time surprisingly, the warning comes to tell that; you have reached your limit! And of course, I respectfully accept it (with considering deleting some old posts as suggested)
Anyway, what can one expect from an old poor retired man? Nothing I think, just forgiveness and let him do calm his soul by sharing it with you good friends. 🙏💖
I have watched this last weekend, after about forty-five years, oh yes; I have seen it in Iran those days though it was censored partly but anyhow it was an unbelievable occasion to see it! In fact, there were many opportunities in Shah’s time to do, one should only know that!
Now on this movie; of course, Antonioni is famous enough as a great movie-maker and he has made a lot of fascinating pieces in the history of cinema, but in this one, he has a message which he shows it at the end of the movie; fully noticed; the enlargement of the mind.
Here, he finds out the reason for what happens;; “in reality?” or it’s all just an imagination…???
sometimes… the reality is the strangest fantasy of all
These are two of my best actors ever;
There it comes the mystery
Here I might reveal a clue, but the whole movie is a clue!
Layla and Majnun is a very old Persian story about two unfortunate lovers as in this video will be explained; it might be compared with W. Shakespeare’s drama Romeo and Juliet. But it seems that it is a never-ending story, it works itself out into the modern times. 😉🤗
The story of Eric Clapton and “Layla” has always bothered me because to understand it is to understand how fallible and crazed any of us can be when it comes to love. We understand that our rock gods are human, but there’s something about Clapton falling in love with the wife (Pattie Boyd) of one of his best mates (George Harrison, a freakin’ Beatle, man!) and then writing a whole album about it, that is just unsettling. Is this something tawdry writ epic? Or is this something epic that has the wafting aroma of tawdriness?
Polyphonic takes on the behind the scenes story of this rock masterpiece and rewinds several centuries to the source of Layla’s name: “Layla and Majnun,” a romantic poem from 12th century Persian poet Niẓāmi Ganjavi based on an actual woman from the 6th Century who drove her poet paramour mad. Lord Byron called the tragic poem “The Romeo and Juliet of the East,” as unrequited love leaves both Majnun and Layla dead after the latter’s father forbids her to be with the poet.
Eric Clapton heard of the poem from his Sufi friend Abdalqadir as-Sufi (formerly Ian Dallas), and so when he wrote a slow ballad about his unrequited love for Patti, “Layla” made perfect sense as a name.
When Clapton and Allman did meet, the two set to jamming and Allman made the history-changing decision to speed up Clapton’s ballad and use a riff taken from Albert King. “Layla” was born. Allman’s bottleneck slide style met Clapton’s string bending, and the track is a conversation between the two, where no words are needed.
“It’s in the tip of their fingers,” says engineer Tom Dowd, listening to the isolated tracks in the video below. “It’s not in a knob, it’s not in how loud they play, it’s touch.
Over this, Clapton delivers his desperate lyrics, sung by a man at his wits end, much like Majnun of the poem.
And then, that coda, which takes up half the song. Drummer Jim Gordon was working on the piano piece for a solo album in secret. When Clapton discovered Gordon was recording on the sly, he wasn’t angry. Instead he insisted it be added to the end of the rocking first half. The song is a perfect balance between frantic rock and romantic ballad.
But in the real world, “Layla” didn’t do the job. Clapton played the album for Pattie Boyd three weeks later, and though she understood its beauty, Boyd was embarrassed by its message.
“I couldn’t believe I was the inspiration for putting this together,” she said in an interview. “I didn’t want this to happen.” She was also mortified thinking that everybody would know exactly who “Layla” was about.
“It didn’t work,” Clapton recalled. “It was all for nothing.”
The song was a flop in the charts, especially as it was cut in half for the single. It would find its audience three years later when the full version appeared on both a Clapton anthology and a best of collection of Duane Allman’s work. Finally it rocketed up the charts, and it’s kind of stayed in classic rock playlists ever since.
And as for Boyd, she actually did leave George Harrison in 1974 to marry Clapton in 1979, a marriage that lasted 10 years. Not all marriages last. The original flame dies out. It’s just that, in “Layla”‘s case, the flame is there every time the needle drops into the groove.
To put it bluntly, I am a totally introvert! Really, I tell you; I am at home from May 1st, the time when I become retired since then I have been just one time out in the city for buying my stuff which I normally needed and never again. And I feel good!! 😉😁
Though we can’t avoid of Psychology transference and Unio Mystica, that comes actually from my birth region, means to me; a union between Ego and my soul, between Anima and Animus; and with the help of my intuition, I will get to know my collective unconscious.
Ego and its thinking function questioning the Cosmic Sea : …” immortality cannot be the object of experience, hence there is no argument either for or against. But immortality as an experience of feeling is rather different. A feeling is as indisputable a reality as the existence of an idea, and can be experienced to exactly the same degree. On many occasions I have observed that the spontaneous manifestations of the Self, i.e., the appearance of certain symbols relating thereto, bring with them something of the timelessness of the unconscious which expresses itself in a feeling of eternity or immortality. Such experiences can be extraordinarily impressive… [The] paradox, however, offers the possibility of an intuitive and emotional experience, because the unity of the Self, unknowable and incomprehensible, irradiates even the sphere of our discriminating, and hence divided, consciousness, and, like all unconscious contents, does so with very powerful effects. This inner unity, or experience of unity, is expressed most forcibly by the mystics in the idea of the unio mystica , and above all in the philosophies and religions of India, in Chinese Taoism, and in the Zen Buddhism of Japan. From the point of view of psychology, the names we give to the Self are quite irrelevant, and so is the question of whether or not it is “real.” Its psychological reality is enough for all practical purposes. The intellect is incapable of knowing anything beyond that anyway, and therefore its Pilate-like questionings are devoid of meaning.” C.G. Jung, Psychology of the Transference
I’m trying to share this post since last Wednesday but WP tells me permanently that my limit is overfilled! Let me try it again 😉
Anyway, Here is a clip in which these two great dancers shows that being aged is not a matter at all.
There is something about being a pensioner!! 😮🤤
It’s nice to see that somebody sent me this video to give me a kick, and it works 😉😂👇👇🙏💖
The last days I am doing mostly Household work! Sometimes it is really surprising to see something that you haven’t seen so long time but still there waiting!! 😳😊 Have a nice Sunday and a good week ahead 👍💖🤗
The paintings of contemporary Italian artist Agostino Arrivabene are grounded in the techniques of the Old Masters and inhabit the timeless realm of dreams and mythological, religious archetypes. Against a backdrop of either luminous darkness or apocalyptic landscape, figures that have haunted the collective unconscious for centuries or longer, Orpheus, Lucifer, Elizabeth Bathory, Persephone, enact sacred ritual dramas. Among the memento mori lie the possibility of transformation and metamorphosis; an actualisation of becoming.
Arrivabene cites as influences the Symbolist Gustave Moreau, the master of the Northern Renaissance Albrecht Dürer and the Neo-Baroque/Kitsch artist Odd Nerdrum. Also discernible are traces of Max Ernst’s eroding mineral frottage derived inscapes, Giger‘s spectacular visceral transfigurations and Blake‘s sheer burning visionary intensity. In keeping with the Symbolist tendency towards drawing inspiration from literature elements of Ovid, Dante and Giordano Bruno are included within the occult and occasionally infernal worlds…